Issuu

THE PROFESSIONAL “HOW-TO” MAGAZINE ON COMICS AND CARTOONING UP, UP, AND AWAY WITh the JLA’S

RON GARNEY

NUMBER 10 SPRING 2005

$5.95

IN THE U.S.A.

Comic Books to Comic Strips with The Phantom’s

Graham Nolan lettering a round-table discussion with

todd klein

draping the human figure, part 2 by

PLUS! ADOBE ADOBE ILLUSTRATOR ILLUSTRATOR TUTORIAL TUTORIAL BY BY

bret blevins ALBERT O RUIZ !

THE PROFESSIONAL “HOW-TO” MAGAZINE ON COMICS & CARTOONING WWW.DRAWMAGAZINE.COM

SPRING 2005 • VOL. 1, NO. 10

FEATURES

Editor-in Chief • Michael Manley Designer • Eric Nolen-Weathington Publisher • John Morrow Logo Design • John Costanza Proofreaders • John Morrow & Eric Nolen-Weathington Transcription • Steven Tice

COVER STORY INTERVIEW WITH JLA PENCILLER RON GARNEY

For more great information on cartooning and animation, visit our Web site at: http://www.drawmagazine.com

Front Cover Illustration by

COMIC STRIPS PHANTOM AND REX MORGAN ARTIST GRAHAM NOLAN

Ron Garney

Coloring by Mike Manley

SUBSCRIBE TO DRAW! Four quarterly issues: $20 US Standard Mail, $32 US First Class Mail ($40 Canada, Elsewhere: $44 Surface, $60 Airmail). We accept US check, money order, Visa and Mastercard at TwoMorrows, 10407 Bedfordtown Dr., Raleigh, NC 27614, (919) 449-0344, E-mail: twomorrow@aol.com ADVERTISE IN DRAW! See page 2 for ad rates and specifications. DRAW! Spring 2005, Vol. 1, No. 10 was produced by Action Planet Inc. and published by TwoMorrows Publishing. Michael Manley, Editor, John Morrow, Publisher. Editorial Address is PO Box 2129, Upper Darby, PA 19082. Subscription Address: TwoMorrows Publishing, 10407 Bedfordtown Dr., Raleigh, NC 27614. DRAW! and its logo are trademarks of Action Planet Inc. All contributions herein are copyright 2005 by their respective contributors. Action Planet Inc. and TwoMorrows Publishing accept no responsibility for unsolicited submissions. All artwork herein is copyright the year of production, its creator (if workfor-hire, the entity which contracted said artwork); the characters featured in said artwork are trademarks or registered trademarks of their respective owners; and said artwork or other trademarked material is printed in these pages with the consent of the copyright holder and/or for journalistic, educational and historical purposes with no infringement intended or implied. Batman, Flash, Justice League, Martian Manhunter, Superman, Wonder Woman are TM and © 2005 DC Comics • Captain America, The Hulk, Silver Surfer, X-Men TM and © 2005 Marvel Characters, Inc. • Vampirella TM and © 2005 Harris Publications • Rex Morgan, MD TM and © 2005 North America Syndicate, Inc. • Phantom TM and © 2005 King Features Syndicate, Inc. • Banana Tail TM and © 2005 Mark McKenna • Rex Ringo and the Robot Ranglers TM and © 2005 Ron Garney. This entire issue is © 2005 Action Planet Inc. and TwoMorrows Publishing and may not be reprinted or retransmitted without written permission of the copyright holders. Printed in Canada. FIRST PRINTING.

LETTERING DISCUSSION CONDUCTED BY TODD KLEIN

ADOBE ILLUSTRATOR TIPS: BITMAP TEXTURE FUN BY ALBERTO RUIZ

BANANA TAIL INTERVIEW WITH CREATOR AND PUBLISHER MARK MCKENNA

DRAPING THE HUMAN FIGURE, PART II BY BRET BLEVINS

Figurative interpretation by Bret Blevins

FROM THE EDITOR

New year, same old mag! In an effort to try and pick up the pace towards getting DRAW! out faster (something I know everybody reading this wants—including the guy typing this), with this issue I am happy to have the stalwart TwoMorrows man-of-action Eric Nolen-Weathington aboard. Eric has taken over the Quark duties from me, which will allow me to spend more time crafting the interviews rather than fighting uphill with my limited Quark skills. Look! We almost shipped on time! I’ve known fellow former-Batcave artist Graham Nolan since the days of DC’s “Knightfall” and “Knightquest”—back when Batman had his back broken and all the ensuing Azreal drama. Though we have both been out of the Batcave for a spell, Graham is still drawing classic characters. No more bats, but plenty of “Ghosts Who Walk” in the Skullcave and the operating room. Graham now illustrates both The Phantom and Rex Morgan, MD for King Features Syndicate. I thought it would be of great interest to compare and contrast the change of artistic venue and audience Graham experienced. I was anxious to finally get to do something with Ron Garney, whom I have also known a long time and whose work I’ve always admired. His work on Captain America is still a high-water mark for good, solid, entertaining comics of the last decade. It’s clear to see from the amount of work Ron puts into his layout stage why his work is so solid and in demand. Our regular DRAW! teachers return. As convention season kicks into full swing, stay up to date with the DRAW! crew’s appearances. Bret, Alberto, and I will be at the MegaCon in Orlando, Florida (which will have come and gone by the time you read this), the Wizard World Philadelphia Con, and Comicon International: San Diego, as well as the Chicago and Baltimore cons. Check out the website http://www.drawmagazine.com for all the latest, and while you’re there, check out our ever-expanding tutorial section and message boards where you can ask Bret, Alberto, or myself for a direct critique or pointers. See you in July! Mike Manley, Editor E-mail: mike@drawmagazine.com Website: www.drawmagazine.com Snail mail: PO Box 2129, Upper Darby, PA 19082

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ith his dynamic layouts, solid drawing, exciting storytelling and pacing, Ron Garney has been an artist to watch and enjoy for over a decade. From his work on such top-tier books as Ghost Rider: Spirits of Vengeance, to his spectacular run on Captain America with writer Mark Waid, to Silver Surfer, The Hulk, X-Men and now JLA, Garney has long been at the top of the pack. It was clear to see that Garney hit his stride on Cap, and he hasn't looked back. Garney spoke with DRAW! editor Mike Manley from his home studio in Connecticut just after he broke up the old studio he had shared with fellow DC Comics penciler Howard Porter (The Flash) in Northford, CT.

Ron Un-stopable! Conducted 12/9/04 by Mike Manley Transcribed by Steven Tice DRAW!: So let’s start at the beginning, like I do with everyone. Were you into reading comics or collecting comics as a little kid or a teenager? RON GARNEY: Hi, everybody! All my readers, I love you, and it’s all about you, the fans. Anyway... yes, I did. I have been reading comics since I was very young. But there was a period there where I gave up comics in lieu of other forms of entertainment. I read them when I was real young, in the late ’60s. I read stuff, whatever my mother brought home. I didn’t have a subscription anywhere, so whatever my mother brought home for me to read, I would read. I remember reading Magnus, Robot Fighter back in the early ’70s. I do remember reading the FF back in the late ’60s, and Spidey SuperStories. The Electric Company! My mother would bring those home, but I lived in such a remote area out in Connecticut that I didn’t have access to a store. The nearest store was in Torrington, which was probably half an hour from where I lived; I lived way out in the country. We owned eleven acres and a service station. DRAW!: You owned a service station? RG: Yeah, my family owned a dealership/service area. We did body work, we worked on cars, and we sold cars. And it was on eleven acres out in Cornwall, Connecticut, which is probably one of the most rural places in the state. It’s a very historic area, so the DRAW! • SPRING 2005

RON GARNEY

COMICS

zoning would never allow for any major development there, so it was a real retreat of sorts. And there’s a lot of modern actors, movie stars, and things like that, that have houses up there that, unbeknownst to a lot of people; like Michael J. Fox has a house right near where I lived, and Kevin Bacon, and people like that. So that’s where I lived, and I didn’t have access to comic shops. But I did—I would read them when I did get my hands on them, and then— DRAW!: So your mom would just indiscriminately grab a pile of comics at the drugstore or whatever? RG: I guess so, yeah. There was one place right in the outskirts of Torrington, which, like I said, was a half hour away. And it was a store, and I had a friend who knew of this store, and he was into that magazine Famous Monsters of Filmland and like that—a lot of

the Warren publications. He knew of it, so I might have mentioned it to my mother, and that’s where she started getting comics, and once in a while I’d get some comics to read. But it wasn’t regular. I remember reading Dracula, which is the interesting thing; I remember reading Dracula back in the early ’70s with Gene Colan and Tom Palmer. Actually, that was probably the mid-’70s.... DRAW!: Yeah, ’74, ’75, somewhere in there. RG: I guess Palmer was inking him, and little did I know I’d end up working with Tom years later on Nightstalkers and stuff. That’s always been a kick for me to have that connection with Tom Palmer, because here I was out in the middle of nowhere, reading one of his comics, and to end up working with him years later was kind of a neat thing for me. DRAW!: Now, were you drawing a lot as a kid? RG: Oh, yeah. I was drawing at a very young age. Actually, I’m going to send you, if I can find them, some drawings of Superman that I did when I was two or three, which are funny, because they look like little balloons with backwards S’s on them. DRAW!: [laughs] You were drawing Bizarro Superman as a kid! RG: I swear, you’ll get a kick out of it when you see it. So I had a thing for it very young. The Batman TV show was my favorite show back in the ’60s, and that was before I lived in Cornwall. I lived in an area called Bantam, which was a few towns over. That was back in the ’60s, and I can remember watching Star Trek at night through the fuzz, because we didn’t get NBC back then, through the rabbit ears, too well. But I do remember watching the Batman show—we would get that in really well. And McHale’s Navy would come on right after that. That, and the Fantastic Four cartoon were on back then, and that was in, I think, ’69—’68 or ’69. So I would watch them, and I really got hooked into them, so I had a love for superheroes at a young age, for whatever reason. Who knows why?

BATMAN © AND TM 2005 DC COMICS.

DRAW!: Well, I think that Batman show was such a big, huge pop culture event, I think anybody who was born in the early to mid-’60s, that was a big thing for you as a kid, you couldn’t escape it, it was so exciting. Waiting until the next episode. My brother and I were both big fans of that show as kids.

ABOVE: Batman sketches, with a Joker and Alfred thrown in to boot. TOP RIGHT: Rough Superman sketch.

DRAW! • SPRING 2005

RG: Well, it was always left on a cliffhanger. Made you want to see it. It was funny, because a few years later, when I was in grammar school, I remember telling this girl in school about the show, about how I loved it, and she mentioned to me that it was originally intended to be a comedy. And I remember taking real umbrage to that [Mike laughs], because I took it so seriously. This

COMICS is Batman, y’know? It wasn’t until I matured later and looked back at the show that I saw how easily that could be a comedy.

RON GARNEY SUPERMAN © AND TM 2005 DC COMICS.

DRAW!: Oh, yeah. To adults it’s a comedy. To a kid, you’re taking it seriously; you don’t necessarily see the comedy. RG: Yeah. As a kid, you’re just seeing what they represent, and the fact that they fought for good. I can remember even liking to watch the opening credits with the animation, like the “Biff!” and the “Pow!” And then you saw the graphics of the villains flying across the screen toward the right as Batman and Robin were kicking their butts. And then it showed the Bob Kane animation sort of running towards the camera. I was just really drawn to it, I couldn’t wait to watch the credits, even. The interesting thing about that is that as a kid, you wouldn’t take it as comedy, because the opening credits didn’t seem to be funny. DRAW!: It’s kind of just straightforward—to a kid—basic action. RG: Yeah, the villains looked evil, and Batman in particular, the drawing of him looked pretty cool. It didn’t look “gay” or anything, if you know what I mean. [laughs] I’m politically incorrect here, but you know what I mean. It didn’t look weird or effeminate or strange to me, it just looked cool. But then, when the show came on, you had that mentality from the opening credits that it was a serious show, so probably, as a young kid, you just followed through with it. But then, later on, as you got older, you realized how ridiculous they looked, and how ridiculous the situations they were in were. DRAW!: So that fueled you to want to draw? Were you drawing comics and things like that as a kid? You said you were drawing Superman, so were you doing your own little stories? RG: Yeah! Oh, it was funny. I can remember the first time I drew anything, and that was when my aunt showed me how to draw a picture of Bugs Bunny back in the mid-’60s. I was born in ’62, so this had to be when I was two or three, and I can remember it. I can remember her sitting me down and drawing the ears, the face, and from that point on, I noticed the reaction. I can remember getting a positive reaction from my family members from drawing, and I think that’s probably a big moment for me. I showed a talent for it pretty early, once I got into school and everything, as well. But probably that positive feedback kept me going at it, and I was always drawing. And I started drawing these Supermen and stuff, little backwards S’s, and I think I even drew a Batman on there, on that piece of paper that I have. So I started very early, very, very early. And then, after watching the Batman show, I think by the time I got to fourth grade, I started trying to do my own comic book, and I can’t remember the name of it, but I remember the kid I did it with. His name was Johnny Hart, and we would staple the notebook paper

from class in fourth grade, and I remember drawing a whole comic book, and him saying, “Oh, you should publish it, you should publish it!” [Mike laughs] If I could only find it now, it’d be a real kick to see how it looks. But yeah, fourth grade I actually did my own comic. I wish I could remember the name of it, though. DRAW!: By the time you got into high school, had you given up comics? Were you still following them? Were you thinking you wanted to be an artist? RG: Well, I was an artist, I guess. I could always draw better than everybody since first grade. I remember winning the “draw the star for the Christmas tree” contest, so it was always sort of attached to me at a very young age. There was nobody else in any of my classes who drew pictures. I was the only one. Now it seems like every kid wants to draw, but back then, and especially where I was growing up, I don’t think—I can’t remember if there was even one kid who could draw. By the time I got to fifth grade, there was another kid who could draw, so we became friends for a bit. He was into drawing dinosaurs. And that’s the kid I was telling you about, who would get the Famous Monsters magazine and things like that. And then, after that, I got hooked into Star Trek for a while. For a couple years, I became a real Trek fanatic. And I wasn’t reading comic books so much, but what I really got into Creepy and Eerie magazines. DRAW!: Last week or the week before I pulled out a bunch of old Creepy magazines and Eerie magazines that I had packed away, and hadn’t looked at in a long time. I loved those magazines; I wish they were still going today. RG: Yeah! They were really great. I look back and they had beautiful illustrations in a lot of them. I can remember later on, they had Richard Corben paintings. There were some Spanish artists there, one in particular, I can’t remember his name. He DRAW! • SPRING 2005 5

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COMICS

was doing Vampirella stuff, and just the way he would— DRAW!: José Gonzales? RG: José Gonzales, yes. He would draw her so well, and I just remember thinking that the art was really evolved beyond Marvel Comics or anything. It was just beautiful illustration, and even as a young kid I could still see the difference. Who knows why, but I just liked the way he drew her. The eyes, the way he would draw the eyes, and it was very well done, I thought. So I was into that for a while, into Creepy, Eerie, Vampirella. A friend of mine had a whole stack of them, so I was just reading those, and that was around seventh grade, and I was still into Star Trek. By the time I got to high school, I’d turned another corner and got really into music and sort of forgot about all that stuff for a while. I was into music and girls and dating and things like that. DRAW!: So you did the typical thing where you abandoned comics and then came back to them later? RG: Uh... yeah, like I said, I became a Star Trek fan, so I wasn’t really reading them all that much anymore. I was really into other things. I was into Godzilla—I was a big Godzilla nut; couldn’t miss any of the movies on Creature Feature on Saturdays. I don’t know. I wouldn’t say I abandoned comics per se; it was more just a transition. Once I got into the other stuff, I was just distracted by so many other things. Plus, where I grew up, it was different. I was outside a lot. We had eleven acres, and I was always roaming. My brother Wesley and I had our own TV show that we pretended to have every Wednesday that we called Kirk Vs. Spock on Vulcan. [laughter] DRAW!: What, did you have cable access? Was it an eight-year-old’s version of Wayne’s World or something? [laughs] RG: We just pretended the cameras were there, but we’d just go out in the backyard. It was based on a particular episode, “Amok Time,” where Kirk fights Spock on Vulcan, which we thought was the coolest episode ever. So we would go out in the back, and for each week, he was Spock and I was Kirk, and we had Star Trek shirts and we had the little plastic MPC models and little plastic phasers. And depending on which week it was, either 6

DRAW! • SPRING 2005

he would win or I would win, and then we’d invent some scenario. But the whole thrust of the show was that we would have to fight at some point. DRAW!: So did you slice each other’s chest with that weird axe thing? [laughs] RG: Whatever weapon we could find. It was kind of like Kirk when he fought the Gorn, it was like, “Look, there’s diamonds over there. Cool!” [laughter] Instead it would be, “Oh, look, there’s a big hunk of brownstone that you can throw at your brother.” DRAW!: There’s nothing like a nice Saturday afternoon where you blast diamonds into your brother’s chest with some homemade rocket device. RG: Exactly! It wasn’t my brother though, it was Spock. DRAW!: Oh, right, right, gotta stay in character. RG: Spock had super-strength, so he had the edge. Kirk was wily and limber in body and stuff. We were also into the Bionic Man [The Six Million Dollar Man] show, too. And one time I threw Wesley off the car. [laughs] The thing about our role-playing is that whenever we would throw each other, we’d have to yell out “Kirk vs. Spock on Vulcan!” And then he’d throw me. One time we were playing on one of the junk cars that we had in the back, and I yelled, “Steve Austin!” And I threw him off. And he went into the engine well of this car and a big piece of metal went right through his arm. DRAW!: Ow! RG: Yeah! And his muscle was hanging out. And

HULK © AND TM 2005 MARVEL CHARACTERS INC.

COMICS ing most of it in brush, and I was also looking at this guy who did the Blacksad comic. I don’t know if you’ve seen it? DRAW!: Yes, he’s an amazing artist. RG: Guarnido. You can see, he just goes in there and draws with a brush, for the most part. He’s just so adept at it. So I was doing a lot of that. I like the loose, organic quality of not ruling buildings and just drawing it in. I’m sure he penciled it in and ruled it in with a pencil, by the time he got to the ink, he was just sort of drawing it in there, and it just left this beautiful, loose quality to everything. DRAW!: Yeah, my little term for that is “casual drafting.” If you draw something, and you rule things, those ruled lines always stand out against the organic lines. That’s what I always loved about guys like Moebius. Even if they ruled stuff, I think they would use the triangle and use the pen against the side so you can kind of warble the line a little bit, so it doesn’t look like everything’s inked like a blueprint. RG: Right. Well, I think sometimes when you rule too much, even though they’re buildings, and even though they’re solid structures or cars or whatever in the real world, I just don’t think they look as good if they’re ruled too tightly. I think it’s too anal and too static. Many old buildings that you see—brownstones or whatever—and sometimes, when you want to achieve that look, it’s better to use a loose, rough, organic quality to it than to rule it all and make every brick perfectly square, because that’s not life, y’know?

RON GARNEY

have to really get on the stick about, get all that stuff to him to look it over and come up and really get that ball rolling. It’s just a matter of sitting down and doing it and having the time. DRAW!: Do you still do a lot of drawing or studying outside of work, like life drawing or other kinds of drawing? RG: I would always encourage anybody to do that, yeah. I’m going to take some courses, in a couple of months, I think, at the local community college, some life drawing and things like that. But even when I wasn’t able to do that, I would still go out and buy life drawing books, like Marbury Brown’s figure drawing book [Bodyworks: A Visual Guide to Drawing the Figure] or things like that. If you’re looking in a bookstore, and that really jazzes you, buy it. And then just teach yourself. You never really have to depend upon going to school, but you really should, because that’s the best hands-on experience you can get. But if you don’t have access to that, you can still teach yourself through books and practice. DRAW!: Oh, definitely. Because even if you go to college, you’re still teaching yourself, it’s still up to you to actually learn. It’s not like The Matrix where they’re just loading it into the back of your head.

DRAW!: So ideally you’d like to pencil and ink your own work? RG: Yeah, well, yeah. Obviously, like anything, it’s a process that I want to get better at. I see inspiration in guys like Guarnido. But, yeah, I’ve always wanted to—I think, in the end, that will be the fullest expression of yourself, whatever comes out from both mediums. It’s kind of like Gary Larson: if somebody else inks Gary Larson, would it really be Gary Larson, y’know? DRAW!: Right. So where do you see yourself in five years? Do you have a long-range plan of what you’d like to do?

FLASH © AND TM 2005 DC COMICS.

RG: Yeah, I really would like to write and draw my own stuff, even if it’s for another company like DC—write and draw a project. Like Barry Windsor-Smith did, where you have all the control, because I think that’s probably the most gratifying in the long run. I think I’m too cerebral a guy to keep drawing everybody else’s stories. I’m a deeper person, I have things in my head, notebooks filled with ideas, and I’d like to just flesh them out on my own at some point, whether it be with Superman or Batman or Spider-Man or whatever character I could use. DRAW!: Do you have any desire to do something yourself that’s not related to the majors, like your own characters or anything? RG: Nah. My brother Howard and I have come up with ideas, and I do have a character called Rex Ringo and the Robot Wranglers, which is a whole universe of characters that are fleshed out. I talked with Glen Brunswick, who’s doing that book with John Romita, Jr. called The Gray Area, and we may be getting something going for Image with that, although we don’t know yet. But it’s something I

ABOVE: Pencils for page six of JLA: Worlds at War.

DRAW! • SPRING 2005

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JUSTICE LEAGUE © AND TM 2005 DC COMICS.

because I needed to concentrate, and I couldn’t be distracted. But as time went on, I was able to multitask, I guess, and was able to concentrate on working and yet have somebody there. I couldn’t even listen to music for a while. DRAW!: Oh, really?

RG: [laughs] Yeah, wouldn’t that be nice? DRAW!: Now before we go, I wanted to touch on your studio set up. You work with Howard Porter (currently penciler of The Flash for DC); you two share a studio. You went from having a very social occupation, which was working in a bar or working in a restaurant, to basically having a very anti-social occupation, working alone as an artist. Is that one of the reasons why you share the studio with Howard, so you see some other human being at least once a day? RG: Yes, and I would encourage more people to do it. Well, it depends on you. If you’re the type of guy who likes solitude—I enjoyed the solitude for a bit. But I had become conditioned to being out and around a lot of people, once I got into college, the bar. To literally be by myself was a really tough adjustment. The only person I’d hear from was my editor, and most of the time you didn’t want to hear from them. DRAW!: [laughs] Because that usually meant there was some bad news on the other end of the line or something? RG: “—pages, how are they coming along?” And they’re just doing that mostly for themselves, not really for you. But there’s a lot of unprofessional guys out there who screw editors over, so I can understand why they need to keep their hands on it, especially when they can’t see it being done. I like working in a studio with somebody now. For the first part of my career, I don’t think I could have, 22

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RG: Yeah, because it would just distract me. I couldn’t focus, probably because I’m a fairly emotional guy, and music would get my emotions going, depending on what kind of music it ABOVE AND LEFT: Ron’s rough layout and was. So I’d lose the printed version of the cover for JLA #109. patience. To sit there and draw a comic book requires a lot of patience, and that’s something I hadn’t developed, or wasn’t ready for completely, by the time I started doing it. And you really need to be patient, you really need to be able to think clearly and visualize in order to make the pages work, and anything that was coming into my ears was just a distraction. Or even if the television was on, it was a distraction. So I would have to sit in perfect quiet for the first few years of my career, to get the stuff done without freaking out and being distracted, not being able to concentrate. So I really had to develop an ability to concentrate at the beginning, and then, as time went on, I was able to have to have a movie on in the background, because now the quiet drives me crazy. [laughter] I get left alone with my thoughts too much. Because that’s what happens, you’re able to concentrate on the stuff, and that starts becoming second nature to you. And then other thoughts start creeping in, you start having conversations with yourself and people who aren’t there, y’know? You’re walking around the house with Kleenex boxes on your feet. DRAW!: [laughs] And the only person you ever see is the Fed Ex guy or something? RG: Yeah, and you’re so happy to see him you run down like a dog with a bone in his mouth. You become friendly with those people, and they’re into what you do and stuff, but, yeah, it becomes too isolated, and I started seeing the effects of that over time, that the isolation starts to get to you after a while. And for Howard Porter, it was a much quicker thing. I had been in the business probably six years longer than him. He left comics for a while for that reason, so I’ve been in it a lot longer than him, and it drove him nuts for the five years he was in it doing JLA. He was working at a bank, but came back into comics and he called me up for that reason, because he was scared of going to work at home again, because it was driving him nuts. That’s the

COMIC STRIPS

GRAHAM NOLAN

Making the Leap from the

Funny Books to the

Funny Pages Conducted 2004 by Mike Manley Transcribed by Steven Tice

BATMAN, ROBIN © AND TM 2005 DC COMICS.

rom the Batcave, artist Graham Nolan drew the monthly exploits of the Caped Crusader. When the artist left the Batcave and DC Comics, little did he suspect he’d end up drawing in another cave, this time the Skullcave, inhabited by the long-running, world-wide popular, newspaper strip hero, The Phantom—who incidentally was one of the influences Batman creator Bob Kane drew from when he created the Dark Knight. After initially landing the job of drawing the daily exploits of Rex Morgan, MD—another long-running comic strip—Nolan was offered The Phantom. DRAW! magazine editor Mike Manley—who coincidentally was the artist of Batman at the same time that Nolan was drawing Detective Comics— caught up with Nolan and talked shop with him from his suburban Buffalo, NY, studio. Together they tracked the steps of Nolan’s journey from the comic books to the newspaper comic strips.

DRAW!: I think one of the things that the readers of DRAW! will be interested in, and it’s something that’s sort of unique to what you’re doing, is you followed from comics back into newspaper strips.

DRAW!: So what would you say [are] the main couple of differences, the big differences that you deal with? I imagine it would be something like the fact that a strip is just three or four panels, as opposed to a comic, which is 22 pages.

GRAHAM NOLAN: Right.

GN: The biggest difference that I run into is the constraints. With comic books your storytelling options are almost limitless. You can put as many panels or as few panels on a page as you want. You can do sequential storytelling images much like a storyboard in a comic book page, and have a lot better control of the pace of it. Whereas a comic strip, as you mentioned, on a daily you’ve got three panels to work with, so it’s like your beginning, middle, and end is all right there, for that day. You’ve got to set the readers up, move the plot along, and then give them something interesting, whether it be through action or dialogue, to come back to tomorrow.

DRAW!: And in the old days, it used to be every cartoonist’s dream to actually work in the newspapers, because that was, like, the big game, to have a newspaper strip. And now you’ve done that, you’ve gone from being a successful comic book artist to now becoming a successful comic strip artist, so I think it will be interesting to discuss and explore the main differences that you deal with as an artist working in the different formats, because they are very different. GN: Absolutely.

DRAW! • SPRING 2005

GRAHAM NOLAN

COMIC STRIPS

DRAW!: Okay. And, as I noticed from being a fan of many old comic strips, especially the adventure strips, the last panel of today is sort of repeated in the first panel of tomorrow, because, I suppose, a lot of people don’t always have every day’s paper. They might not pick up the paper on Tuesday, so if Little Orphan Annie was about to get sawed in half on Monday, on Wednesday she may still almost be getting ready to be sawed in half. [laughs] GN: Well, I don’t run into that with Rex. The only time we do any recap on the Rex Morgan strip is on Monday—recapping a little of what happened on Sunday—because it’s more often than not that people will get either the dailies or just the Sunday paper. And if they don’t get the Sundays, then you have to kind of recap them on what happened on Sunday. DRAW!: Now, in the case of Rex Morgan, Sunday is not a separate story from the daily strip? GN: That’s correct, yeah. On Rex, the storyline follows along from Saturday. DRAW!: Because I know on a lot of strips they would have a completely separate Sunday story than the weekly story, the daily strip story.

GN: Yes. DRAW!: In the old days it was all drawn by the same artist? GN: Right. DRAW!: So what else would you say is different? Is working with King Features as opposed to, say, working with Marvel or DC, or working Marvel style, where you work from a plot—are you getting full scripts from the writer, or do you have input? GN: Yeah, I get full scripts from the writer, which is not too different from what I’m used to. I did a lot of work at DC, and that was primarily the way they worked, so I’m no stranger to working that way. DRAW!: You have to work much further ahead, what, usually several weeks or months ahead? You have to be pretty far ahead for the syndicate, because if you get sick or break your hand or something, you can’t be right down to the wire, right? GN: Yeah, I think it’s six weeks on the dailies and nine weeks on the Sundays is where they’d like you to be. DRAW!: And what are some of the other differences? I suppose

REX MORGAN © AND TM 2005 NORTH AMERICA SYNDICATE, INC.

GN: Yeah, and that’s how it is on The Phantom. The Phantom’s daily story is completely different from what happens in the Sunday.

DRAW!: And was drawn by a different artist, or team of artists, right?

DRAW! • SPRING 2005

COMIC STRIPS

GRAHAM NOLAN

REX MORGAN © AND TM 2005 NORTH AMERICA SYNDICATE, INC.

that the actual physical real estate of the page or the strip is very different from the visual real estate, as I call it, that you’re dealing with in a comic book. Also, in a strip the word balloons are a much bigger percentage of the visual landscape, let’s say, than a comic book.

ABOVE: Rex Morgan daily strip from 08/30/04. LEFT: Rex Morgan Sunday strip from 08/04/02.

GN: Yeah, you pretty much have to design your art around whatever the words are, because you don’t have the luxury of being able to move your balloons around like in a comic book. Especially on Sunday, the way that the artwork is formatted is cut up quite a bit, depending on what newspaper you’re reading it in. This is a good subject to touch on, how the Sundays break down, because you have to break in certain areas to allow the newspapers to cut the strips up and run them either vertically or run them without the logo panel. DRAW!: Oh, right, so that first big panel, that logo panel that says, “The Phantom, created by....” GN: Right. A lot of times it might just be words. They won’t use the panel, they’ll just say in words, “The Phantom created by Lee Falk,” rather than include the artwork panel. In fact, the first three panels of the first tier is called the “drop-off tier.” So, in a humor strip, it almost has to be a little self-contained gag, and can’t be integral to the entire Sunday joke. DRAW!: Yeah, it can’t be the setup for the pitch, for the payoff, right. GN: Exactly. And in a story strip, you can’t advance the plot on the first tier, because a lot of papers won’t see it. DRAW!: Now, I seem to remember that Hal Foster used to use that as a little panel where he’d talk about something from the time of Prince Valiant, like weaponry or things like that. GN: Right, right. Like Dick Tracy, it’s the wrist TV and then the crimestopper thing, because it’s not integral to the story if it doesn’t appear. DRAW!: And what about the actual physical size of the strips? I know I have a lot of old comic strips, myself—I love them and I’m always collecting—and I have strips by Frank Robbins from the ’40s that are huge. GN: The originals? DRAW!: Yeah, the originals are really big—eight inches high, 18 inches in length—but by the ’70s, he was drawing them much smaller—6" x 12" or even smaller. But even within that, from the

’40s to the ’70s, some strips in the ’60s would be a little bit smaller, and then in ’68 they’d be a little bit bigger. He seemed to change size all the time, so I just wondered would he think, “Well, this is the paper I have lying around, so I’ll just make these strips according to the amount of strips I can get out of a sheet?” GN: I have a Frank Robbins daily that isn’t much bigger, other than the horizontal sides, because of the different proportions they run now, but the vertical distance isn’t that much different than what I’m working in right now. And then I’ve got a Jack Kirby Skymasters that’s a lot bigger, and I’ve got a Straight Arrow by John Belfi that is just gigantic! One panel is four or five inches tall! DRAW!: Wow! GN: Yeah! [laughs] It’s amazing the differences. But they’re all proportional, whatever the printed format was at that time. DRAW!: And I guess the actual format, the proportion of the newspapers are probably much different today than they were in the ’50s, when they were probably bigger. GN: Oh, absolutely bigger. They’ve shrunk them down now, which is part of the reason of the death of the story strip. You don’t have that same real estate to work in anymore. Before, when you could do all these great panoramic shots—forget it. You’re lucky if you can get a whole head in there now. DRAW!: So how do you address that? Do you find it kind of crimps you a bit as a visual storyteller, that you’re more handicapped by the more restrictive format of the strip? GN: Definitely. But I don’t like to use the word “handicap,” I like to use more the word “challenge.” The challenge is to make it interesting within those limitations. DRAW!: So you’re a spatially-challenged artist. GN: I’m spatially-challenged! [laughter] One of my many challenges. But, yeah, I try to figure out ways to make it interesting. I move the camera around. That aspect from comic books I took with me, to keep the cinematic camera moving around within the panels. Can’t really have stuff bursting out of a panel. DRAW!: Right, or have word balloons going between panels, like you do in comics all the time. DRAW! • SPRING 2005

COMIC STRIPS

BATMAN, ROBIN © AND TM 2005 DC COMICS.

GRAHAM NOLAN

ABOVE AND RIGHT: Layout and inks for page 31 of a Batman 80-Page Giant. See page 25 for the pencils.

GN: Right. I can have them go between panels on the dailies, and on certain panels on the Sundays, depending where the break has to fall. DRAW!: Okay. Now, were strips something that you were interested in as a kid? Did you growing up thinking, “Boy, someday I’d like to have my own newspaper strip?” GN: No. No, it’s funny. The generation I grew up in, comic books was the thing. The strips were secondary. And I really didn’t get into the strips and the artists that did them until much later, until I started finding these guys and getting an appreciation for them and learning from them. DRAW!: Now, was this after you were already working in comics? GN: No, I would say part of the growing experience when I was at the Joe Kubert school, learning who some of these artists, these predecessors, were. DRAW!: They kind of taught you students a little bit of the art history, the history of the medium? GN: Yeah, just because a lot of the teachers there at that time were from that era. And then you’d say, “Ah, I just love John Buscema.” “Well, if you love John Buscema, you gotta take a look at Hal Foster. I mean, that’s who influenced him.” “Oh, okay.” So all of a 28

DRAW! • SPRING 2005

sudden I find Hal Foster. I’m like, “Oh, this stuff is great!” And “if you like García-López, well, you’ve got to look at Alex Raymond.” “Oh, Alex Raymond? Who’s that?” And you look at Alex Raymond and you’re like, “Oh, I can see where he’s getting it all now.” That aspect, I always loved to see where the source material comes from, and then you fall in love with that stuff. DRAW!: Well, I found myself that, when I was a teenager, they started reprinting some of the Steve Canyon strips from Kitchen Sink. And I’d always heard of Milton Caniff, but I didn’t really see a lot of examples—because our generation, like you said, didn’t really grow up reading the strips, per se, or at least the adventure stuff. I mean, you might be familiar with Peanuts and things like that. But then I came to discover Caniff, and then the entire school of Caniff, from Frank Robbins, to Lee Elias, Jim Aparo, Kirby, I mean, there’s just so many artists who were very influenced by him. GN: Oh, absolutely. DRAW!: So it seemed like sort of a strange style, in a way, to people who were reared on more of the Neal Adams, the postSilver Age styles—in a way even sort of post-Kirby, because Kirby obviously was very influenced by Caniff, that whole way of spotting blacks and everything. Now, what years were you at the Kubert school?

LETTERING

TODD KLEIN

Letterers on

lettering by Todd Klein

rom 1995 to 2000 I hosted a monthly online chat room for letterers. The topics were wide-ranging, but occasionally we did actually talk about lettering, oddly enough. Recently Mike Manley asked me if I had any letterer interviews that he might be able to use in DRAW!, and I thought of putting together a few excerpts from those chats. These focus mainly on hand lettering—we talked about computer lettering quite a bit, too, but much of those discussions are now irrelevant or outdated due to the ever-changing world of computer hardware and software.

PHOTO BY SOPHIA QUACH

TODD KLEIN: Steve, did you get started in the Marvel bullpen? STEVE DUTRO: That’s right… two years on staff doing corrections and cover copy.

Steve Dutro came out of The Kubert School, then worked in the Marvel Bullpen in the 1990s, freelancing for companies such as Dark Horse as well as Marvel.

TK: I think Novak meant a sharpening stone. John Costanza could make a point in a few minutes. I would struggle for an hour, and throw it away. So I went back to technical pens for the regular lettering.

TK: Did you work with anyone in particular for lettering training?

SD: Tech pens are faster, but you can’t achieve the chiseled look.

SD: There’s not any real training going on any more. There’s too much work to do.

SD: I could never get a C-6 to behave the way I wanted it to.

TK: So you just picked it up as you went along? SD: Sometimes Mike Higgins would give me some pointers. I heard about people training under Jim Novak or Mike Heisler, but I never got that. TK: You have the thick-thin line down, which I never could get very well. Do you file down an FB-6 Speedball point? SD: At Marvel, everyone uses a Hunt 107 point, which is nonflexible. It has a very fine point. TK: That has a chisel tip already? SD: No, it needs to be filed, preferably to match the angle of your desk. TK: Jim Novak likes to talk about the “Gaspar Stone,” for creating the perfect chisel point, referring to Gaspar Saladino, a letterer we all admire. SD: I’ve never heard of the object. I use sandpaper.

TK: I now use a Speedball C-6 for calligraphic stuff.

TK: Maybe it’s because I’m left-handed, but it works for me. Did you get any on-staff lettering training, Chris? CHRIS ELIOPOULOS: Yeah… Ken Lopez and Mike Heisler taught me. Chris Eliopoulos is another graduate TK: What of the Marvel Bullpen, doing lots of was your work for them, as well as for DC and first printed WildStorm. He is also the creator, job (that writer and artist of his own feature you’ll admit Desperate Times. He is currently overto)? seeing lettering on many Marvel titles. CE: I did a 12-page Punisher story with Mark Texeira, working on staff at Marvel… 1990 or ’91 maybe. How ’bout you, Todd? TK: First printed was, I think, a Dave Manak humor piece for Sick magazine in 1977, a Star Wars parody. CE: ’77? You old man, you! TK: What pen point do you prefer, Chris? CE: I use a Hunt 107, filed down. So do Mike Heisler, Bill Oakley, Ken Lopez, Jim Novak, Phil Felix… and countless others. We call ourselves the “Magnificent 107s.” DRAW! • SPRING 2005

TODD KLEIN

LETTERING

TK: Hahaha! The Marvel point. Have to try that someday. CE: What do you use, Todd? TK: Castell TG1 technical pens. Sizes 2 and 2.5 (for bolds) mostly. Also 0 and 4 at times, and Speedball C-6, with Speedball B-5, B-4, B-3 for larger letters. CE: I file down a Hunt 107 even more for bolds. So, you’re all over the place with pens, just don’t matter? TK: Regular lettering is the first two almost always. I keep both tech pens in hand and switch back and forth. CE: You’re a lefty, right? How do you do that? Work backwards? TK: Sometimes. Usually I skip around on the page to allow areas to dry. I still put my hand in wet lettering occasionally. CE: How do you structure your day? Do you work a normal schedule? TK: I work from about 6:30 AM to 4 PM most weekdays, will do more in the evening if I have to. With breaks, of course. Weekends I often put in four to six hours in the morning, do other things in the afternoon. CE: It always seems that there’s a rush job every week… can’t catch up. I’m always afraid there won’t be any more if I turn away work. TK: Editors will usually respect you if you know your own limits enough to say no. Don’t sweat it. Rich, what letterers influenced you?

RICHARD STARKINGS: One of the best letterers of all time is Steve Craddock. Look for his work on “Captain Britain” reprints. Ben Oda was a much bigger influence on me than Gaspar Saladino, incidentally. Richard Starkings is the President and First Tiger of the Comicraft lettering studio he founded with John “JG” Roshell in 1992. His work has been seen in 2000AD and many Image, Marvel and DC titles, including Batman, Catwoman: When in Rome, Generation X and his own book, Hip Flask.

TK: I saw a lot of Ben’s work when I was on staff at DC (1977-87), and I liked it, but in the end it went downhill. He worked way too hard. And I have to say I don’t see a lot of Oda in your work, Rich. RS: I took Oda’s crispness rather than his style. Tom Frame was also unique, and there’s Bill Nuttall, who gave me my first break. He lettered “Rogue Trooper.” TK: I’ve seen some of those, will check out the others. ABOVE: Sharpening stone and Hunt 107 points. LEFT: Various dip pen and tech pen points. RIGHT: Steve Craddock lettering on “Phoebe Zeitgeist.”

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LETTERING RS: The British guys use the Rapidograph or technical pen over the dip-pens. That’s the major reason they all look similar. Of the newer ones, I trained half of them and the ones I don’t know were trained by them. TK: But John Workman, who got me started, uses tech pens, and his work doesn’t look like theirs. I think it’s more what you’re exposed to than the tool. RS: Workman has such a slick style it overpowers the tool. His work on Thor is some of his best ever. TK: One letterer I think is under appreciated now is Bill Oakley. RS: Bill is, I think, the best of the more recent Marvel Bullpen bunch. When Bill improves his fonts and builds up his title font library, I’ll be watching my back. TK: Tom Orzechowski on X-Men is pretty hard to beat.

TK: Yes, I noticed him there first, but have you looked back at it lately? It’s very different from his style now.

TK: Sorry, my memory isn’t that good. You? RS: I liked Orz’s “Infinity Effect” in Warlock, and all that stuff he did on “Metamorphosis Odyssey.” TK: One thing that impressed me in the late ’70s or early ’80s

was a Marvel pin-up book with Jim Novak logos for each character—all different, all terrific. RS: Novak created or perhaps cemented the block style. It was jarring when he took over Dreadstar from Orz. TK: Orz’s work was a labor of love, which always shows. RS: It would be neat if all the letterers pulled out the stuff that inspired them and we could put together a reference guide.

Ken Bruzenak: You know, I still enjoy just working on pencilled art. Kind of archaic these days. Ken Bruzenak came to prominence working with Howard Chaykin TK: Me too, Ken, and I do on American Flagg in the 1970s. He that on some books. has worked on many titles with Howard and others, such as Azrael for Willie Schubert: I find DC, and is currently lettering Powers myself doing more by for Marvel’s Icon imprint. hand these days than ever.

RS: Orz began to shine on Warlock.

RS: Any particular title page you remember as inspiring, Todd?

TODD KLEIN

Willie Schubert began working for First Comics in 1984, and continued lettering for a variety of companies, including DC, where he worked on various Batman comics and Terminal City, among others. He is currently working for Gemstone as well. Susie Lee: Any tips for someone developing their hand lettering? TK: Practice. That’s all you need to do. And use the pointy end…!

WS: It sometimes helps to mimic (or even trace) a style you like to get a sense of its rhythm. TK: Good point, Willie—I learned a lot from doing corrections on other people’s lettering. KB: My style just evolved as I worked. It’s not the Costanza look I want, but it sells. WS: What is it about Costanza’s style you aim for? KB: John’s hand lettering is very fluid, warm and readable. I’m more spiky and angular. DRAW! • SPRING 2005

TODD KLEIN

LETTERING LEFT: Bill Oakley lettering on Action Comics #690. RIGHT: Tom Orzechowski lettering on X-Men #126.

TK: Gee, I always have to remove Brit spelling from scripts by Neil Gaiman, Peter Milligan, etc. TO: From there, I did six-page stories for the black-and-white monster magazines, over young Doug Moench, young Claremont, Gerber, McGregor, and like that. TK: Good training, those shorts. I did a lot of short horror and war and Superman Family stories at first. TO: Knowing Buckler and Starlin from the fanzine days got me over to the color books before I was very good. TK: Starlin was where I first noticed you. ©2005 DC COMICS

TK: Costanza has a wonderful way with round shapes that’s hard to beat. Draws terrific balloon ovals by hand, too. KB: I think John also does very creative handcrafted sound effects. And I like his work on Casper as an artist, too. TK: Yes, he’s great at hand-drawn sound effects. It’s his funnyanimal sensibility and drawing talent, I think. WS: Ken, do you push yourself to back off on the angular look? Or is it in the rhythm of your hand? KB: I do try to fight that spiky look, but my hand has a mind of its own. Also, it’s hard to judge when printing processes vary from page to page. WS: I found my style also changed when I had to change pens. I often feel my work doesn’t print well. TK: We all feel that way, I think, because we know what was supposed to be there. Where did your lettering career get started, Tom? Tom Orzechowski: My earliest work was in January of ’73, retouching the earliest Lee and Kirby hero books for British release. Tom Orzechowski has been one of the top lettering stylists since the early 1970s, gaining notice on Jim Starlin projects such as Warlock, and continuing with a long run on various X-Men titles as well as on Image Comics’ Spawn. He has also worked recently on the Dark Horse manga Ghost in the Shell II, and on DC’s Harley & Ivy.

TO: The oddest thing was doing new, splashy titles for the ’50s suspense stories. Mine were nowhere near as good as the ones done in the first place. I started looking at Ben Oda and Costanza a lot right then. TK: On staff I used to do those for text stories—remember those? TO: Where did those text stories appear? In the 25-cent Strange Adventures type reprint books? TK: No, in the mystery/horror books, instead of letter columns— weren’t enough letters. TO: Hah! Isabella, McGregor and Gerber, the young editors, made ’em up sometimes, even into the early ’70s. TK: I loved Gaspar from the start, and also liked John Workman a lot, and Costanza. I really liked Workman on Marshall Rogers’ Detective Comics stories—remember noticing it before I worked with him at DC. TO: John looked just right on top of Marshall. A looser look, like Costanza, would’ve been wrong. John was just a little stiff then… and look where he is now! Loosest guy around. TK: Did you work with Irv Watanabe? TO: Danny Crespi, the late great, had pity on poor me. I never met the freelance guys, though I can see that Irv influenced me. I met Joe Rosen at his home once for a minute or two, picking up a job. He didn’t seem to want to chat. TK: So you were you on staff for a while, or always freelance? TO: I was on staff for three months, at which time everyone agreed that I should stay home and work there. Office work, instant deadlines, were driving me buggy!

TK: Did you have to do Brit spelling?

TK: Tell me about it. I don’t know how I lasted ten years.

TO: Yes! That experience with Brit spelling made me the ideal guy to work with Chris Claremont, who peppered his scripts with them. I knew more of them than the editors.

TO: Currently I’m re-learning to hone the nibs for my lettering pen. Been using Rapidograph #1 for a year or so. Rapidos are okay in a pinch, but I miss the flexibility.

DRAW! • SPRING 2005

DIGITAL ILLUSTRATION

ALBERTO RUIZ

DRAW! • SPRING 2005

ALBERTO RUIZ

DRAW! • SPRING 2005

DIGITAL ILLUSTRATION

SELF-PUBLISHING call. But that meeting never materialized. Golden Books filed for bankruptcy that week and had laid off many employees. I was devastated, but when the smoke cleared I knew that if it was good enough for Golden, well then... it must be good enough. I had a few more “near misses,” and finally decided that if I self-published the book and publishers could see the final result, perhaps then the speculating on what I brought to them would be over. They could see the product the way I intended it to be. I finished the book, procured the trademarks and printed 2000 books. I decided the grass roots direction was the way to go. If I sold my books and was a success story, perhaps then a big company might take note. I sold all 2000 in less then four months by soliciting and selling through elementary schools in my county. The energy I exerted to do this wore me down, and I lost my direction with my original plan to get back to soliciting children’s book companies. DRAW!: So it was the amount of labor involved in shipping, taking orders, etc.? You were a one-man-army so to speak. But still it must have felt good to be able to sell out as opposed to having the family garage filled with boxes of unsold books. MMc: Currently my basement is packed with books from my second print run, T-shirts, coloring books and advertising materials for when I do conventions or shows. When I ordered a second printing I did so just before striking a deal with this Active Media Publishing, so my stamina dropped to a halt. I figured I would let the publisher work out his angles—publicity, advertising, solicitations—and I could take a break. I signed a one-year contract with Active Media. This contract had the lusty number of 100,000 in sales attached to it. But these numbers were to be based on a new production of my property— a hardcover. I think that door has closed. The publisher was working with a backer, and that backer has stopped funding the project. From what I understand the most crucial point of getting the book “out there” is the marketing/advertising, and the backer decided to back out of any further dealings with the publisher for reasons unknown to me. The publisher and backer both have their versions of what went wrong, of course. All I know is it wasted a year-and-a-half of my ambitious start. I am once again starting to think about direction on how to promote sales on my own. Now I have two agents that are looking at BT in New York City, as well as a marketing guy down in Tampa, Florida.

MARK MCKENNA

catalog. I have yet to see the catalogues, but I understand that it sold 42 more copies [laughs] since they’d originally ordered the 1800 initially. DRAW!: What you really need, then, is somebody to properly showcase it and give it a push. MMc: Yeah, that’s a lot of it. The other part for me now is that the hardcover version is not as nice-looking to me. I’m partial to my little softcover and the blood and sweat I put into it. I never warmed up to the hardcover and fought the fledgling publisher on everything from color to text and cover design. I do see that the hardcover has a nice firmness and larger size which I imagine children would find appealing. DRAW!: I seem to remember you gave me a copy in San Diego, or you were showing me a copy. MMc: While I was initially intimidated with the original idea of selling 2000 books, I sold my first print run out in less then five months, maybe four months. It’s a lot of work wearing all the hats and paying out of pocket to get trustworthy freelancers on a work-for-hire basis. I am publisher, editor, marketer, art director,

DRAW!: Now, the publisher who was backing the first printing of Banana Tail, where was he advertising it? MMc: They were advertising it with Baker & Taylor and Ingram Distributors, in their catalogues. The book was in there, but here’s the problem: I don’t think the publisher spent the money to advertise properly, so it was just one book in a giant RIGHT: Concept drawings of Banana Tail.

DRAW! • SPRING 2005

MARK MCKENNA

SELF-PUBLISHING

distributor, and owner of the property. I hired comic artist Kevin West to draw Banana Tail, but had paid two other artists to do “try outs” for the gig. I also hired Emily Kanalz to digitally color the book. Emily is the wife of Wildstorm’s Hank Kanalz, so you see I stayed with comic creators, because this is what I know. There were so many unknowns, I needed a comfort zone, and really, why not comic book people? DRAW!: This is really a completely different approach to doing art and stories than you’ve spent most of your career working on, with super-jocks smashing each other to solve their problems. How do you try to both excite kids and at the same time avoid the slam-bang action of comics, the violence which seems to be such a no-no in children’s publishing?

MMc: It’s quite the learning curve. I recall one writer friend telling me, “You can’t use the word kill or kill animals in the book.” Then what do you say when you have Snap the alligator trying to eat Banana Tail the monkey? He wanted to nibble his buns? I’m writing for a kindergarten to 3rd grade crowd. I think if I get the laughs, I can hopefully avoid the violence. Part of me sees that there is a good, hardy laugh that can come from a tense, possibly dangerous situation. Inherently children know what dangers lay in the jungle. I can play off of that knowledge. DRAW!: I agree, and kids are so smart, they instinctively pick up on it if you are trying to baby them. I know I did as a kid. I resented that aspect of certain cartoons and such. MMc: Of course I want to do a story where the animals are pretending to be super-heroic, but there are no super-heroes to play off of, so the pretend play would come from a heroic animal, legendary to the island they live on. I hope I can do stories that kids who might end up being comic readers in a few years can get their reading chops by reading Banana Tail as a young person. DRAW!: So the publishers give you specific guidelines about content versus age? MMc: When I started Banana Tail, I did it when my children were newborn and four years old. Coincidentally, Banana Tail is for the ages of three to seven years old. I created the text and guidelines myself. I’m sure there are specific company guidelines for children’s book publishers, but the company that created the hardcover is a new publisher, so nothing was set in place. Funny, but I ran into problems with the art in one specific case. I had a visual of Banana Tail sunning himself with a furless tail. The idea was that he pulled the fur out of his tail to get a tan and be a brown tailed monkey, because the tail was yellow, hence Banana Tail. Well this one woman read the book at a kid’s birthday party, when all of a sudden they get to this page and one perverted woman says his tail looked like a penis. I had read the book to hundreds of kids to that point, but get one dirtyminded woman and voila, instant change. DRAW!: So since you are not drawing this book yourself, but writing it, what was that process like? I imagine you have to feel really good about what the artist is bringing to the book. How closely did you work with the artist? 72

DRAW! • SPRING 2005

ABOVE AND RIGHT: Sometimes a furless tail is just a furless tail, but when someone complains that it looks too phallic, a change in the artwork may be required.

MMc: At first I didn’t know artist Kevin West and I’m no writer, so the very beginning of our relationship was a bit tricky at first. I wanted to give Kevin enough leeway to be creative, yet not baffle him with uncertainty. I gave Kevin a plot and page-by-page description, but Kevin told me it read more like a storyboard than a book. I had to believe him, what did I know? My writing credits to that point were probably in an 8th grade journalism course. First thing I had Kevin do was two or three pages of characterdriven pencils, so I could see if he had the chops for drawing, what I call “big foot animals.” His stuff was great. There was no doubt that he had it down. With a little push and pull, Kevin gave me layouts for the book, ten pages at a time. From his breakdowns I would nitpick what I felt needed to be adjusted and have Kevin then go to final pencils on whatever paper he was comfy working on. Kevin decided on an 8 1/2" x 11" bond paper. When I received his final faxes of the pages, I light-boxed his pencils onto Strathmore 2-ply board and inked away. After the inks I sent copies of the art to the colorist, Emily, who put the final results on a CD. I have to say, I made Banana Tail a rhyming book and didn’t know the “unwritten rules” of pentameter or timing, so I wrote the book unevenly, thinking it was no big deal. Of course anybody who knows the unwritten rules, or simply knows how to write, can see the flaws in my scribbling. However, it’s an honest first effort, and I begged and borrowed words and thoughts from anybody who would offer them.

VISIT MY WEBSITE AT: www.albertmoy.com

Ken Bald Dave Bullock

Richard Corben

Mike Golden

Erik Larsen

Jim Lee

John Byrne

John Cassaday

Darwyn Cooke

Jae Lee

Sam Kieth

Jack Kirby

Bruce Timm John Severin

WANTED: Neal Adams (covers, sketches, roughs, pages, pencils, illustrations, and paintings). Other artists of interest: Art Adams, John Byrne, John Buscema, Gil Kane, Adam Hughes, Lou Fine, Reed Crandall, Steve Ditko, Jack Kirby, Alex Toth, Joe Kubert, Wally Wood, Hal Foster, Alex Raymond, Charles Schultz, and many more. Interested in EC artwork, any Large Size covers, any Marvel and DC covers, large and small. Exclusive Agent For: Jae Lee, Jim Lee, Sam Kieth, John Cassaday, Ken Bald, David Bullock, Bruce Timm, Peter Snejbjerg, Darwyn Cooke, Erik Larsen, and Aron Wiesenfeld. Albert has much more art than the selection shown here. Please call him at (718) 225-3261 (8-11:30PM EST weekdays, all day weekends) if you are looking for something in particular and do not see it listed.

Peter Snejbjerg TERMS: Call to reserve art: (718) 225-3261. Will hold art for 7 days. $12 postage in U.S. $25 postage for Overseas orders. All Packages in U.S. are sent registered mail. Money Orders or Certified Checks accepted. We now also take payment via PayPal and Bidpay. Will consider trade offers — Let me know what you have to trade.

Draping the Human Figure by Bret Blevins

DRAW! • SPRING 2005

Part II

DRAPERY

n Part I of “Draping the Human Figure” (DRAW! #8) I diagramed the six basic folds and discussed the general behavior of cloth, outlining the factors that shape the drapery of various garments and weights of fabric as they are effected by gravity and the movement of the figure underneath. Here in the pages of Part II we’ll examine the typical drapery patterns of a few common garments and chart the dominant and secondary folds of various posed figures. Before we get to the diagrams, notice how drapery is used in the title page illustration (a scene from Marvel’s Fantastic Four #19). Here the Egyptian costume reveals the form, pose, attitude, and action of the Invisible Girl. A character’s clothing rarely has to carry so much visual information by itself, which made this piece especially fun—depicting an unseen body

BRET BLEVINS

required drapery to do all the work. Yet the figure and her role in the scene are clearly communicated at first glance by careful attention to the shape and motion of her costume—the eye instantly “sees” the character, not an uninhabited garment. This image depends on the use of drapery for its effect, yet the drapes and folds remain secondary in importance—the focus is still the figure wearing them. Unless you specifically intend such an effect, remember that the clothes should never be more important than the figure wearing them—be careful to stress the big sweeping rhythms and directional folds that define the figure’s form or action and sublimate surface detail that weakens the overall clarity. The clothing should always play a supporting role—even if person wearing them is invisible!

Always remember to use the information here as an aid to constant study from life—don’t memorize a set of drapery symbols or tricks and graft them onto your drawings mechanically. Variety and fresh observation add vitality to every element of drawing figures (or anything else), but because of its complexity, drapery is especially tempting to codify if you are constantly drawing many figures. It’s easy to find a few symbolic rendering gimmicks and apply them over similar poses, but it robs your work of many opportunities to make the drapery active and convince the viewer the figures are alive and engaged in genuine movement, not posed and hammered over with contrived drapery indications that don’t vary. Keep your work fresh and “breathing” with the authenticity of real-world observation. We’ll begin with six transparently draped figures done from a model in which the dominant (the larger, heavier lines tipped with arrows) and secondary folds (the thinner, shorter lines) have been charted—study them as a guide to understanding how to identify each. Always establish the dominant folds first and you’ll often find these will convey all you need to make the drawing convincing and effective. Defining secondary folds may be necessary to clarify certain garments, but often the drawing looks more “alive”—less stilted, posed and frozen in space—if the drapery is simplified as much as possible. If overdone secondary folds destroy the solid impression of form. (Look at the drawn line and color illustrations of pattern catalogs in any fabric store and notice how effectively simplification is used to make the clothing attractive and easy to understand at a glance.) As you study these drawings, keep the three basic concepts of drapery in your mind—try to understand what the cloth is doing through these concepts, as if they were a filter between your eyes and the images. If you develop this habit, the complexity of draping figures will sort itself out into a clear procedural method of observation that simplifies the folds into big directional patterns that reveal both the form they cover and the action they perform. The three concepts are: I. Point of Tension or Support. II. Shape of the Form(s) Underneath. III. Gravity. DRAW! • SPRING 2005

BRET BLEVINS

DRAPERY

T S

These three facts of nature dictate the behavior of all drapery—the cut of particular garments and the weight, thickness, and density of different fabrics will affect the fold patterns, but the essential action of the drapery is still guided by the three basic influences, all properties of physical law. The Point of Tension (T) is always found at the outermost stress point of fabric pulling tight against the form underneath—typically the outer edges of the shoulders, elbows, knees, hips, breasts. The Point of Support (S) is the uppermost edge of the form within a draping cloth. When the figure is standing still, this is usually the top of the shoulders, the waistline of trousers or skirts, the nipples of the breasts—when sitting, the tops of the thighs, the bend of the knee. Shape of the Form Underneath is the structure over which the fabric hangs, pulls, stretches or flows—at the Points of Tension and Support the cloth will pull taut and folds will radiate out from the stress points. Away from or between the tension points the cloth will fall slack and drop, hang or fold back on itself.

DRAW! • SPRING 2005

T T

T Gravity is the overall directional magnetic influence that pulls the cloth away from the figure, usually downward, but in the case of running or leaping figures the atmosphere can lift cloth away from the body. Gravity is still at work though—the figure is usually heavier than the garment so the drapery is reacting to the pull of the moving weight it covers. If the cloth is drenched in liquid its increased weight forces a downward drop which often causes it to cling to the figure.

T S

Draw #10